Door Frame: The Iconography and Architectural Style in Indian and Southeast Asian Art

Abstract

This research focuses on the doorframe, an architectural component of the door that is regarded as one of the most sacred elements in Hindu and Buddhist architecture, both in Indian and Southeast Asian art. Previous studies have discussed the iconography and styles of the doorframe, such as Stella Kramrisch (1946) and Parul Pandya Dhar (2009). However, their iconography and stylistic connections to India and Southeast Asia have not been widely explored. The aim of this study is to explore the iconography and stylistic connections between Indian and Southeast Asian doorframes prior to the 13th century CE. The findings can be summarized into four main topics: 1) Definition of the Enclosure, Wall, Gateway, Door, and Doorframe: the study classifies the “enclosure”, accompanied by a gateway, and the “wall” of a sanctum, which features a doorframe or “Dvāraśākhā.” 2) Iconographic Meaning of the Doorframe: as devotees peer into the sanctum to glimpse the deity, the doorframe assumes various iconographic meanings. It symbolizes the multiplication of the supreme god, the blessings of abundance, and the deity's power to eradicate evil and provide protection. 3) Development of Doorframes in Indian Art: the Gupta period introduces the Dvāraśākhā system, characterized by concentric frames. The Vakāṭaka period brings forth the Makara Toraṇa, an arch flanked by two Makaras. The Dvāraśākhā system has evolved through several schools of Indian art, particularly in North India, while the Makara Toraṇa has remained prevalent in South India. And 4) Evolution of Doorframes in Southeast Asian Art with Indian Comparisons: doorframes in Southeast Asia exhibit localized characteristics. Khmer lintels evolved from the Makara Toraṇa to arches adorned with foliate motifs and Kāla masks. Central Javanese doorframes are primarily decorated with Kāla and Makaras, whereas Bagan doorframes uniquely follow the Dvāraśākhā system.